Mrs. Eaves was designed by Zuzana Licko. The typeface was developed from Baskerville. Some aspects of Baskerville that are present in Mrs. Eaves is the overall openness and lightness. The lowercase characters are given a wider proportion. In order to avoid increasing the set-width, the x-height was reduced, relative to the cap-height. Consequently, Mrs. Eaves has the appearance of setting about one point size smaller than the average typeface in lower case text sizes. Mrs. Eaves takes those elements from Baskerville that have become familiar, and thus highly legible, to today's reader, and to give these my own interpretation of a slightly loose Baskerville that may be reminiscent of a time past.

This typeface is named after Sarah Eaves, the woman who became John Baskerville's wife. As Baskerville was setting up his printing and type business, Mrs. Eaves moved in with him as a live-in housekeeper, eventually becoming his wife after the death of her first husband, Mr. Eaves. Like the widows of Caslon, Bodoni, and the daughters of Fournier, Sarah similarly completed the printing of the unfinished volumes that John Baskerville left upon his death.

Dalliance was designed by Frank Heine. Dalliance took from the Summer of 2000 to February 2001. Inspiration for this new typeface was taken from the handwriting on the map of a battle that had taken place at Otrach, Germany.

The construction started with a monoline to describe the basic form and using this to create the desired minimum stroke weight, then adding the heavier parts. The outline sketches served as background layers to approximate and reveal the final shapes. Sometimes the final character shimmered somewhere between these multiple outline structures. This digital method of inventing/refining the curves and character proportions by the overlapping of digital sketches worked well as a substitute for real paper sketches, which were never created during the process of designing Dalliance. Once the basic character shapes were determined, the letters were fine-tuned by applying different stylistic ideas, making some forms more modern or unusual compared to the original source.Dalliance has a combination of roman and script qualities.

Matrix was designed by Zuzana Licko.

The design of Matrix is based upon the proportions of the Emigre Fourteen bitmap design.

Matrix was designed when the personal computer was very crude and memory space was very expensive. To ensure legibility for text applications, the basic elements are derived from classical forms. The character proportions are based on a few simple ratios and the points required to define the letterforms are limited to the essentials. For example, serifs with curved elements require more memory than do straight lines. Therefore Matrix serifs are reduced to diagonal lines; requiring fewer points than even square serifs.

Triplex was designed by Zuzana Licko.

Triplex was Zuzana’s first sans-serif text design. It evolved from working with geometric typefaces. Traces of my earlier Citizen design are visible in Triplex.

Typefaces are not intrinsically legible; rather, it is the reader's familiarity with faces that accounts for their legibility. Studies have shown that readers read best what they read most. Legibility is also a dynamic process, as readers' habits are ever changing. It seems curious that blackletter type styles which we find illegible today were actually preferred over more humanistic designs during the 14th and 15th centuries. Similarly, type styles which we perceive as illegible today may well become tomorrow's classic choices.

The Development of the Citizen and Triplex families from the Lo-Res Twelve bitmap screen font.

Tarzana was designed by Zuzana Licko. This text was first published in the Summer of 1998 in Emigre #47.

These two families of sans-serif text faces were developed purely along formal lines. The goal was to balance the neutrality required for a text face with just enough idiosyncrasies to create a slightly unfamiliar design in order to provide new interest.
Tarzana's design process was one of visual editing; discarding overly familiar ideas, while assimilating new ones without compromising legibility.

The roman (upright) and italic versions were designed simultaneously, with the purpose of cross-pollination. In some instances, roman character designs were developed on the basis of the italics, resulting in such features as the curved arm on the lower case "k," the asymmetric capital "Y," and the rounded capital "E," yielding an informal feel to the entire family.